Summarize this content to 2000 words in 6 paragraphs in Arabic In the northern Italian city of Biella, artist Michelangelo Pistoletto lives in his grandest idea: Cittadellarte. His \u201ccity of art\u201d houses both his home and his foundation in a former woollen mill on the banks of the Cervo river. It is also something of a utopian experiment. Its mission? To \u201cinspire and produce responsible change in society through creative ideas and projects\u201d.Amid Cittadellarte\u2019s warren of rooms on a wintry morning, Pistoletto is sitting at his dining room table, positioned between two mirrors. Both are examples of his art, their surfaces superimposed with images. While one shows a woman looking through a pair of binoculars, the other flaunts a hangman\u2019s noose.To enter the room is to become part of a constantly changing performance: members of Pistoletto\u2019s entourage come and go, his wife, Maria, makes coffee, and the 91-year-old, white-bearded and soberly dressed, discusses his upcoming New York exhibition at gallery L\u00e9vy Gorvy Dayan.\u00a0 \u00a0\u201cThe show begins with a self-portrait made with a reflective material in 1961,\u201d he says. \u201cIt is the origin of all my process. The mirror, for me, was a way to make a step to the other side of the wall. You have the entire space and time in front of you.\u201dIt was Pistoletto\u2019s sleek, somewhat pop, 1960s \u201cMirror Paintings\u201d that first made his name; six decades later, the mirror is still a hallmark of his work. It\u2019s been combined with photography and painting in hundreds of different iterations; used to create mind-bending installations; smashed with a hammer in performances; and become a hotspot for an Instagram selfie.For many, though, Pistoletto\u2019s name resonates first and foremost as a leading proponent of the arte povera (\u201cpoor art\u201d) movement, whose radical use of everyday materials in the late 1960s and early 1970s is currently being highlighted in a major survey at Paris\u2019s Bourse de Commerce.\u00a0The artist continues to add to his CV at an impressive pace. Since October, he has headlined shows in London (at Robilant+Voena), Paris (Galleria Continua) and Caserta in southern Italy, where the royal palace is hosting Metawork \u2014 a display dedicated to Pistoletto\u2019s explorations of \u201cmetamorphosis\u201d and \u201cinterconnectedness\u201d.In Biella, his vision that began with the Mirror Paintings \u2014 the experience of seeing \u201cthe entire society inside of the work\u201d \u2014 has expanded into \u201ca place where art would be accepted inside all the different sectors of life\u201d, he says. \u201cIn 1991, I found this old mill by chance,\u201d he recalls. Today, the renovated 20,000 sq m space houses a broad selection of his work and is open to the public at weekends. It also has a primary school, a residency programme, and an academy of higher education \u2014 its subjects ranging from socially engaged art to sustainable fashion design. There\u2019s a restaurant (Bistro le Arti), an event space (Hydro) and building work is under way to create an on-site hotel, scheduled to open next summer. As well as 50 rooms, it will feature, says Pistoletto, \u201ca cultural spa\u201d. Instead of massages, the \u201ctreatments\u201d on offer will be workshops and talks. \u201cYou come and reactivate your mind,\u201d he adds.It\u2019s all connected within his concept of the \u201cThird Paradise\u201d \u2014\u00a0an artistic and activist philosophy, started in 2003, to create \u201ca balanced connection between artifice and nature\u201d. Ultimately, he says, \u201cWe have to learn how to create harmony instead of war.\u201d Its lofty goals around unity and environmental sustainability are symbolised in the artist\u2019s adaptation of the mathematical infinity sign with three connecting circles. Pistoletto\u2019s cult-like motif has been recreated in multiple locations and materials \u2014 from a floating sculpture wrapped in fabric scraps at Blenheim Palace to a constellation of fishing boats in Havana and installations at the Palace of Nations in Geneva and the United Nations headquarters in New York.He highlights the \u201cspontaneous participation of people\u201d in the Third Paradise, which claims to have more than 250\u00a0\u201cembassies\u201d across the world \u2014 people who champion its utopian principles. \u201cThey each create the Third Paradise as a work of art and each one is totally different from the other,\u201d explains Pistoletto. Since 2012, they have also collectively marked Rebirth-Day on December 21 \u2014 the end-date of the Maya\u00a0Long Count calendar, suggested by some to be the end of the world, adopted by others as a celebration of a new beginning. Does Pistoletto feel reborn? \u201cEvery morning,\u201d he laughs. Then he is serious again: \u201cBut it is not a question of myself being reborn. It is society starting a new path that is important.\u201dHe tells me about a new initiative he and his team (as a non-profit enterprise, Cittadellarte employs some 40 people) are working towards called United Religions. \u201cWe have the United Nations,\u201d he says. \u201cNow we want to see how [The Third Paradise\u2019s] formula of differences can find a common balance among religions.\u201dWhen I suggest that in light of historical and current conflicts, it seems an impossible task, Pistoletto quickly interjects: \u201cNothing is impossible. If I think that something is impossible, I would not make art. Even if there is not a final big solution, the moment you start to activate something to be better for the future, you feel better.\u201dHis Biella base is also something of a personal homecoming. It\u2019s where his parents met, and where he was born. His father, Ettore Olivero Pistoletto, was an artist and an antique restorer, whom Pistoletto worked with from the age of 14 at his studio in the nearby city of Turin. \u201cHe was a painter, but very classical, very good, but he didn\u2019t make a jump out of the past,\u201d says Pistoletto. \u201cFor me the family is very important.\u201dHis foundation, too, is a family affair. One of his three daughters, Armona, is a Third Paradise ambassador who runs a sustainable agriculture project, and her husband, Paolo Naldini, is the director of Cittadellarte. Naldini describes the operation as \u201clike a volcano\u201d. While its network of different offices (for areas such as art creation, fashion, architecture, economy and education) seems sprawling, \u201cit\u2019s actually pretty straightforward,\u201d he says. Its day-to-day running is in the hands of project leaders, called \u201cartivators\u201d. In terms of funding, \u201ctwo-thirds of Cittadellarte\u2019s finances come from its ability to exchange and sell its projects to public or private institutions,\u201d says Naldini, \u201cand one-third is from the economy of Michelangelo.\u201dPistoletto\u2019s wife Maria serves as vice-president of the foundation. In New York, the L\u00e9vy Gorvy Dayan exhibition includes silkscreen-printed images of the two of them on a mirror diptych. \u201cWe are like the first day we met,\u201d says Pistoletto of his partner, in life and work, for 57 years. \u201cWe are very different, but we are complementary. I am always enthusiastic about things and she is critical.\u201dIn the artwork, they are both looking into their phones, which display a QR code \u2014 a new element of his practice, also presented as paintings, from which viewers can access an \u201cextraordinary and constantly evolving autobiographical history of interviews and thoughts\u201d, explains Dominique L\u00e9vy, co-founder of L\u00e9vy Gorvy Dayan.The show, titled To Step Beyond and spread across two floors of the townhouse gallery space, is, L\u00e9vy says, \u201can exhibition of a very, very young artist who happens to be a 91-year-old man\u201d. One room is dedicated to a new installation of his abstract \u201cColor and Light\u201d series: \u201cTo me, it\u2019s really a gesture of hope in quite dark times,\u201d says L\u00e9vy. Another will reveal completely new sculptural work: \u201cvery much arte povera again, but in an incredibly contemporary way\u201d, she adds.Indeed, Pistoletto shows no signs of slowing down. He continues to go skiing whenever he has time; is writing \u201cmany books\u201d; and is embracing the use of AI as a way to \u201ctransform the visual infinity that is in my mirror paintings\u201d. Even his time asleep is productive, he says, as it allows for the subconscious reorganisation of his thoughts. \u201cEvery day at five in the morning I wake up with the problem of the day before, but in a way that offers a possible solution. My activity never stops.\u201d \u2018Michelangelo Pistoletto: To Step Beyond\u2019 is at L\u00e9vy Gorvy Dayan, New York, from January 16 to March 29. \u2018Michelangelo Pistoletto: Metawork\u2019 is at the Reggia di Caserta until June 30<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic In the northern Italian city of Biella, artist Michelangelo Pistoletto lives in his grandest idea: Cittadellarte. His \u201ccity of art\u201d houses both his home and his foundation in a former woollen mill on the banks of the Cervo river. It is also something of<\/p>\n","protected":false},"author":1,"featured_media":164940,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-164939","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/164939","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=164939"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/164939\/revisions"}],"predecessor-version":[{"id":164941,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/164939\/revisions\/164941"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/164940"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=164939"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=164939"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=164939"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}